Advantages of Oil Paints and Painting

Painting artists have been using oil paints for hundreds of years. Actually, they have been seen from as early as 13th century in England, where they used oil paints for simple decoration. In the early years, however, many artists preferred to use paints called tempera instead on using oil paints as they were able to dry faster than oil paint. In the 15th century, Flemish artists came up with the idea of mixing oil paint and tempera. Nevertheless, it was not until the 17th century that pure oil paints became a more usual art medium.

Oil painting dries slowly than any other forms of paint because they are made of small particles of pigments that are balanced in a drying oil. While some of the artists might find this slow drying quality troublesome, most artists believe oil paints to be a required type of art media that must be taught to every art student. This is partly because of the many oil painting reproduction, which have been developed using oil paints.

There are several advantages of using oil paints, aside from its robust quality. Oil paints could as well be left open for a long duration. In fact, oil paints could regularly be left opened to air for up to several weeks without drying. This characteristic makes it possible for an artist to work on a painting over different sessions with no fear of the painting drying up too early. Of course, this attribute could be seemed at as a disadvantage by some artists, because it takes few weeks for the project to be completed and the slow drying process could make it difficult to move on to the next stage of the project.

Oil paints are as well outstanding for blending with surrounding paint. When blended on canvas, oil paints are able of creating artistic brush strokes and other blends, which are not possible with other forms of paint. For some artists, though, this advantage to oil paints could be viewed as a disadvantage, as it is possible to by chance blend colors while painting that were not meant to be blended.

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Makler Heidelberg

Source by vijay

Soil and Soul

Landscape painting has been a popular genre among the viewers of Pakistani art owing to its no-iconoclastic nature. Even a layman is a good admirer of landscape painting. This is one reason that we can find this style of painting, as a part of miniature painting, back in the times of the Mughals and then as a proper developing genre in the British era.

In early years of Pakistani art, we can find traces of landscape painting, used as a backdrop in the miniature-like paintings of Chughtai, while Allah Bakhsh, in pursuit to skill himself in the western technique, explored the complexities of this style.

Allah Bakhsh tried to capture his surroundings as they were appearing to his sight, in a realistic manner. Soon this realist approach was to be confronted with a more sophisticated ideology of modern realism; an avant-garde style of landscape painting that emphasized on capturing the atmosphere of a particular spot and its surroundings, and its effects on the painter rather than the objective appearance of that specific landscape.

Khalid Iqbal, the first male teacher at the Fine Arts Department of the Punjab University Lahore, during his stay at the Slade School of Art London, came under strong influence of his mentor; Sir William Coldstream who, at that time, was an important torchbearer of modern realism in England.

Later, when landscape painting was actually introduced to an academic level, Khalid Iqbal emerged as an exponent of modern realism in Pakistan in the early 1960s regarding technique and subject matter. Khalid, not only inspired the first generation of landscape painters in Pakistan, but also skilled and trained them to explore their very own styles in this genre. Zulqarnain Haider, Aslam Minhas, Ghlam Rasul opted this painting style for their very individual visual experience. These painters prefer to go on the spot to feel the atmosphere and its effect before painting anything on the canvas.

After the pioneers, the young lot, never lost interest in this panoramic style and kept on painting the colours, shadows, clouds and light of Pakistan. Ghulam Mustafa, Zulfi, Shahid Jalal, Mughees Riaz, Durre Waseem and Naela Amir established their names in terms of landscape and cityscapes.

Ajaz Anwar discovered the watercolour medium for the rendering of life and festivities of Lahore and Ijaz ul Hassan paid attention on the social issues through his symbols flowers and Amaltas trees.

On the other hand, Zebeda Javed with her distinct style, which can be titled as “Conceptual Landscape Painting,” added more colours and emotional strength to this genre. Zubeda’s style was different and somehow challenging in a time when ‘on-spot’ painting and modern realism were popular among landscape painters. The imagination, and emotional value, based on the impressions on memory, helped Zubeda to develop a more humanistic approach towards landscape painting. This style and technique received attention of many of her contemporaries and students, and the conceptual approach in landscape painting emerged parallel to the modern realism in this style of painting. Musarrat Mirza is another painter who adopted this approach in her landscapes while few paintings of Khalid Mahmud also display imagination and conceptual patterns; before he fell in love with impressionism in his later work. In a varied fashion, Moyene Najmi and Raheel Akbar Javed were also experimenting with this genre, although they preferred modern idiom of abstraction and non-representational approach in landscape and cityscape painting.

Kehkashan Jafri and Maliha Aga accepted and promoted the technique and style where the emotional and personal expression could get to vent in a strong way.

There are quite a number of artists, who basically are not landscape painters and have their repute in other styles, even these artists could not stop themselves from falling in love with this enchanting painting style. Iqbal Hussain, Saeed Akhtar, Rahat Naveed Masud and Quddus Mirza are such few painters who earned names in portrait painting, figurative painting or in abstract or non-representational art, but at one point or the other in their lives, they put their hands on this genre.

Interestingly, the energetic generation of young painters is all set to communicate through the colourful palette of landscape painting; Muhammad Arshad, Amjad Naeem, Munawar Mohiudin, Najam-ul Hasan Najmi, Mirza Matloob Baig, Anila Zulfiqar and Iqbal Khokhar are experimenting with their painting techniques as well as with their visual perceptions.

Art in Pakistan has seen many favourable and unfavourable circumstances during the last three or four decades; the figurative art was discouraged and new styles like calligraphic-painting evolved. However, the landscape and cityscape painting, owing to its non-iconoclastic nature, gained popularity and acceptance in our society and kept on its journey of success in splendour.

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Makler Heidelberg

Source by Nadeem Alam

Ancient Japanese Printmaking Techniques

What is it about this old Japanese art that I love?

I’ve always been fond of certain ascpects of Asian culture, from Martial Arts (of which I train in a few) to artwork such as Taoist paintings (I love the minimalism) and Japanese prints.

One of the things I really love about the Japanese printmaking methods is that no matter how simple the design of the print, you can tell how it would require many years of tough practice in order to produce such artworks – and not just the prints themselves, the paper too as I discovered!

In my research into the Japanese printing techniques I was surprised to find out that traditionally it wasn’t just one person who made a print – it took the combined work of up to four people to create a print!

I hope you will find the printmaking techniques interesting.

First of all, what does Ukiyo-e mean?  And how do you pronounce it?!

The term Ukiyo-e originated from the Buddhist term Ukiyo. Ukiyo referred to the material world as being un-pure and filthy – as opposed to the world after death.

Slowly however this term changed to mean something else. Japan had been a war-torn country for hundreds of years, but in the Edo period (the 17th century) it was brought together under the Tokugawa shogunate and the wars ended.

This brought with it a rise to artistry and the appreciation of beauty. Urbanization was on the rise, and Edo became the center of culture and pleasures. The term Ukiyo changed to mean “the floating world” – referring to the fleeting pleasures and freedom from the concerns of everyday life.

The Japanese prints during that time usually depicted this carefree philosophy and thus came to be known as Ukiyo-e: “pictures of the floating world”.

I have only a small understanding of Japanese, however looking at how it’s written it’s pronounced as follows:

U (like “oo” but short)

ki (as it sounds)

yo (again just as it sounds)

e (as in the “e” in “met”)

So when were these techniques created? Woodblock printing techniques had actually been around for a long time before they became popular in Japan. The Chinese had been using woodblock printmaking methods to make books for hundreds of years – and lots of these books could be found in Japan as well – however, the first Japanese illustrated print book only appeared in 1650.

The book was “Ise Monogatari” which was a famous traditional Japanese story, but in this book the text had the main focus, and the prints secondary. This slowly changed however until prints were made as unique artworks – meaning they had begun to be seen as true art pieces.

The Ukiyo-e however weren’t made just for art’s sake – there were lots that were created as advertisement posters (not the famous ones obviously).

So who was involved in the creation of the Ukiyo-e prints? Printmaking wasn’t a solo act…

Even though the Artist of the Japanese print got the credit for the art piece there were three more craftsmen involved:

The master woodcutter: the tradesman who carved the woodblock according to the artist’s sketch.

The Printer: mixed the colors and actually did the printing.

The Publisher: in charge of co-ordinating the efforts of the Artist, Woodcutter and Printer. The Publisher also chose how the print was going to be published.

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Makler Heidelberg

Source by Daniel Wallman

Why is Abstract Art So Popular?

Abstract art is popular because it has a purpose in this world both for the artist and the viewer. Many people collect abstract paintings to beautify their surroundings, as an investment, or to update their lives with contemporary culture. They often feel a connection with the colors, the forms, texture, or energy that the artwork gives off. The artwork changes their living space and creates an atmosphere worth living in.

For the artist, creating the artwork can be an expressive means to channel creative energy and emotion. The action of painting is actually considered therapy and very meditative for many abstract artists. The evidence of this has been documented to be especially true in today’s modern fast pace world.

Abstract art also covers a broad spectrum of painting styles. The general understanding is that this type of art does not depict anything in the natural world and the subject is simply a visual language of color and form. While this is true of non-representational works (which I love to create), this is simply not true for all abstract art out there. The word “abstract” means a departure from reality, but this departure can sometimes be only a slight one. This in-turn leaves room for partially abstract landscapes, figures, seascapes, etc. to be categorized as abstract art.

The beauty of abstract art, both for the artist and the viewer, is that anyone can take what they see and interpret it however they want. Of course this is true of any type of artwork, but considering the nature of abstract artwork, the creative mind has even more freedom to roam and interpret what is appearing before the senses. Abstract artwork is a non-traditional free art form that resonates with the feelings and emotions of today’s contemporary artists and art collectors. As long as this is true abstract art will continue to be so popular.

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Makler Heidelberg

Source by Jaison Cianelli

MAVO: Japanese Artists and the Avant-Garde, 1905-1931 (Twentieth-Century Japan: The Emergence of a World Power)

MAVO: Japanese Artists and the Avant-Garde, 1905-1931 (Twentieth-Century Japan: The Emergence of a World Power)

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The radical Japanese art group Mavo roared into new arenas and new art forms during the 1920s, with work ranging from performance art to painting, book illustration, and architectural projects. Hurling rocks through glass roofs and displaying their rejected works, Mavo artists held peripatetic protest exhibitions against the Japanese art establishment. Ultimately, Mavo’s work became a major influence in Japanese commercial art and had a pronounced and lasting impact on Japanese visual and political culture. This abundantly illustrated volume, the first book-length study in English on Mavo, provides a critical evaluation of this often outrageous and iconoclastic movement, tracing Mavo’s relationship to broader developments in modernism worldwide.

Gennifer Weisenfeld provides a fascinating look into Japanese popular culture by showing how Mavo artists sought to transform Japanese art in response to the rise of industrialism. They deliberately created images that conveyed the feelings of crisis, peril, and uncertainty that were beginning to characterize daily life. Their art often alluded to mechanical environments through the use of abstracted imagery such as interconnected tubular forms and shapes reminiscent of riveted steel-plate girders. Looking in depth at the art itself, the flamboyant personalities of the artists, and the cultural and political history of Japan in this interwar period, Weisenfeld traces the strategies used by these artists as they sought to reintegrate art into daily experience.

Weisenfeld thoroughly documents the links between Mavo artists and a wide range of other artistic and political movements with which they associated themselves, such as futurism, dada, expressionism, socialism, and communism. Capturing the restlessness and iconoclastic fervor of Mavo, Weisenfeld is the first to fully locate this modern Japanese artistic community within the broader historical and intellectual framework of international art of the early twentieth century.

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Makler Heidelberg

How To Repair, Texture, And Paint A Wall After Wallpaper Removal

After wallpaper removal, your walls may have damage due to the stripping process. This can be especially bad if the walls were not properly prepared prior to installing the paper.

This process is easy to follow; but does require a certain amount of skill with tools and painting. See my Article: Five simple tools to help you paint like a Professional for information on specific painting tools. These will be used through-out the following steps.

Much of the following information can be used for general repair and texturing.

Tools you will need: Painter’s tarps, painting tools, throw away brushes, 120 grit sandpaper, fast drying oil primer, pva primer, painter’s masking tape, putty knife, plastic, aerosal texture, texture gun, joint compound, mixing attachement for a drill, caulking, razor knife, screwdriver.

Step 1: Clean up walls.

With a razor knife, trim back any loose wallboard paper to a tight edge. Working behind toilets is tough and there may be wallpaper left back there. If there is, trim it back as best as possible.

Step 2: Remask.

Texturing is messy. Use painter’s tarps on the floor. Mask counters, toilets, windows, and doorjambs with paper and plastic. Cover everything. Paper around the edges of windows and plastic in the middle works well to allow for some daylight.

Step 3: Oil Prime.

I like to use a fast drying oil primer. Oil primers tend to seal out any wallpaper paste left on the walls along with other foreign matter there may be. It also dries faster and sands better.

Make sure you have plenty of ventilation. Fast dry primer is smelly and will give you a headache for sure. Use a short napped roller pad, and throw away brushes. Or at least junky brushes if you intend to clean them. I wouldn’t bother with cleaning the roller pad.

Allow the primer to dry for at least and hour. Two to three hours is best. The longer it dries, the better it will sand.

Step 4: Sand rough areas.

Using 120 grit sand paper, sand back any fuzzy areas in the wallboard. Check for areas where the wallboard paper is lifted. Cut them back if necessary. Sandpaper wrapped around a putty knife helps to get behind a toilet, sanding any remaining wallpaper flush to the wall. Remember, missed fuzzy areas may show through your texture.

Step 5: Skim coat.

Using joint compound, fill holes and flush out the damaged areas. Joint compound is less expensive and sands better than lightweight spackle. Use a bit more compound than necessary to fill the holes. Creating a slight hump. Don’t glob your filler on, that only makes for a-lot of work in sanding later.

The idea is to create as smooth a wall as possible prior to texturing. Your texture will hide small imperfections. Larger ones you need to fix now. It is really difficult to repair your walls after you have textured. The texture often doesn’t match, and your paint may “flash” in these areas.

When your first skim coat is dry, go back and apply a second coat to any large holes that didn’t fill the first time around. You may want to lightly sand these areas prior to the second fill. This makes for a smoother second coat.

Finally, generaly smooth out your walls with sandpaper or a wet sponge. I like using a sponge and a bucket of water. Sponging doesn’t create any nasty sanding dust that needs to be cleaned up later. Wet your sponge, wring it out a bit, and wipe any areas that need smoothing. Continue, wetting your sponge and wiping. The joint compound will soften and wipe away. This is easy to get the hang of.

Step 6. Texture.

Texturing walls can take a bit of practice. As a professional, I know that it takes the right combination of knowledge, material, and equipment. Please see my article on How to texture walls before painting.

After texturing, continue on to the next step.

Step 7: PVA Primer.

PVA primer is an important step to ensuring a even finish. PVA primer is generally inexpensive primer that is designed to soak into new texture and seal the surface.

You may want to have the paint store tint your primer towards the finish color if it is a darker one. PVA usually comes from the factory as a light gray color.

If you have access to an airless, spray one heavy, even coat of your your PVA. Let dry.

If you do not have access to an airless sprayer, brush and roll one heavy, even coat. This should go pretty quickly with the masking still in place. Let your PVA dry for 2-3 hours.

Step 8: First coat of paint.

Again, spray your first coat of finish if you have acess to an airless. Make sure you apply it evenly and heavy enough to limit “flashing”.

If you do not have access to an airless sprayer, brush and roll one heavy, even coat. Let your finish dry. This may take overnight at this point.

Step 9: Unmask.

Gently peel back all of your used masking paper. It may help to score the edge of your masking with a razor knife before pulling it back. Generally clean up the area, vaccumming and dusting all the surfaces.

Step 10: Clean Edges.

The many coats of primer, texture and paint will have left a heavy, uneven edge around your previously masked surfaces. Gently scrape or cut this edge back to where it is smooth. In some areas you may want to apply a thin bead of caulking. Wipe away any excess with a damp cloth and let dry.

Step 11: Second coat and touch-up.

Protect areas that you may get paint on. Go back and “cut-in” crooked masking lines and where you applied caulking. Roll out sections of wall that need a second coat and generally touch-up around the molding and fixtures. A “weenie” type roller helps to paint behind toilets.

Step 12: Replace fixtures and wall plates.

After your touch-up is dry, reinstall your fixtures, switch plates, and furniture.

Congradulations! You’re Done!

Be gentle on your fresh paint. It generally takes up to two weeks to cure and become durable.

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Makler Heidelberg

Source by Ben Siebel

Koi Fish Sleeve Tattoos Designs – Meanings and Stereotypes Around This Sexy Japanese Koi Tattoo Art

Koi is a word made popular by the Japanese which means Wild Carp or Carp. Differently from the Western culture beliefs, Koi is a colorful fresh water fish usually found in public ponds, fountains and rivers which can have many different color like white, red, yellow, orange, gold and even calico-colored. Koi tattoo is very famous in the Japanese culture in which it is treasured with the love and respect of the people for thousands of years.

Koi fish is one of the most beautiful and popular tattoo symbols in Japanese and all over the world. A Japanese legend said that if a Koi climb the fall successfully at the Dragon Gate on the Yellow River, it will transform itself in to a dragon. Due to its masculine quality, the Koi tradition made it way into the family where they celebrate the son by having Koi fish flag in the house or at the Boys’ day festival. Koi fish tattoos symbolize strength, courage, determination over obstacles, and ambition for achieving high goals.

Japanese Koi tattoo tradition has put a huge mark on the western tattoo culture for its deep traditional meanings and beautiful designs. Koi tattoo art has become more popular world wide rather than just in Asia. Thousands of people decorated themselves with Koi sleeve tattoos on their arms and forearms. There are many different yet interesting opinions in the meaning of the Koi fish tattoos. Some feel that the direction swimming of the Koi has symbolism of sexual attention.

For me, finding a true meaning behind all these are difficult and the fact that most tattoos meanings are best have to do with the person who getting them. Whatever feeling you have for the tattoo is the meaning for you, not necessarily true to someone else but at the end of the day, it is your tattoos so nobody would careless. I’ve actually heard people said this about the Koi fish tattoos: if the Koi is swimming up, it’s either the person is really sexual or gay and if swimming down, it means the person wants to either give or receive oral sex. I don’t know all about this but it could be up means trying to overcome problems and down mean the obstacles has been tackled. Like I said, whatever meaning fits your lifestyle then it is the true meanings.

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Makler Heidelberg

Source by Grabriel Gonzaga

Royal and Langnickel Acrylic Painting Artist Set for Beginners

Royal and Langnickel Acrylic Painting Artist Set for Beginners

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The beginner art sets have everything you need to start creating what you have always dreamed. This set includes a “how to” guide with step-by-step instructions, teaching you how to apply your new found skills. Once you have established the basics, let your creativity flow. Set includes 10 acrylic paint tubes (12-ml), 6 taklon brushes (round 1, 4, 7, flat 2, 5, 8), 1 graphite pencil, 1 white eraser, 1 sharpener, 1 six-well palette, 1 palette knife, 2 canvas boards (5-inch by 7-inch), 1 acrylic beginner guide and 1 storage box measuring 13-inch by 6-1/4-inch by 2-inch. Imported.Beginner artist sets by royal and langnickel are ideal for the beginning artist, featuring a “how-to” guide to help teach the new medium
Art set features all the essential tools to start experimenting and painting, all supplies are stored in a convenient wooden storage box with handle for ease of use, travel and storage
Includes 10 acrylic paint tubes, 6 brushes, 2 canvas boards, 1 palette knife, 1 pencil, 1 eraser, 1 sharpener, 1 six-well palette and one instruction booklet
Wood box measures 13-inch by 6-1/4-inch by 2-inch
Contents conform to ASTM D4236

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Makler Heidelberg

5 Tips to Establish Yourself As an Artist

Any artist that’s interested in marketing and selling their work at galleries, art festivals or online must know a few things before they begin. This article will discuss five major components beginner artists should think about before they embark on their journey as a successful artist. The first is believe in yourself. Second is create artwork that sales and third is become a business. Lastly, find a place to sell your work to help build your name and creditability. Let’s take a look at each one.

1. Believe in yourself. One of the most common negative trait many artists have is not believing they are a good enough artist. This is a bunch of bologna. If you have sold any artwork at all you are good enough. You may have to work on a few things but you have to start believing in yourself. I know an artist named Eric McCray who said he put a sign up for himself that said “Believe in Yourself” until he became the artist he wanted to be. So please, believe in yourself and tell all the negative thoughts in your head to shut up!

2. Create artwork. Create 20 to 30 pieces of artworks that are all consistent with each other. Don’t paint landscapes, portraits of pets, and abstracts. Choose your niche and stick to it! When collectors and galleries see your work they look for consistency. It shows that you are a professional. Also create art that sales. Don’t create art that is boring, dull or dark. People like to feel uplifted so please create your art accordingly.

3. Become a business. Set yourself up as a business. Get business cards, business licenses, separate checking accounts and etc. The worst thing you can do is be at an art show and you don’t have any business cards. You are completely missing out on sales. Next, get a website to help promote yourself as an artist. Website are fairly inexpensive these days and can be easily set up in no time. Also, read information about starting a business and have an entrepreneurial mindset.The more you learn about running a business and using different sales technique the better. Selling art is not just about applying to art shows,, selling on Etsy and being represented in art galleries but about marketing yourself nonstop using various marketing strategies that will help propel your business. I encourage you to read more books about marketing and selling as much as you read books on creating art. This will help you build the right mindset to run a successful business.

4. Find places to sell your work. Apply to art shows, art festivals, gift shops, galleries and the like. Do not go to libraries, coffee shops, or restaurants. People don’t go to these places to buy art. Just like real estate where location is king, same goes for finding places to sale your work. You have to place your art in front of people who would be willing to buy your art without any problem. Make sure you consider locations that are conducive to your market. You also want to put your art in front of people that pertains to your niche. If you paint birds you may want to sale at bird shows or several gift shops. Since I paint images of musicians playing different instruments I apply to music festivals. Do you see what I trying to get at.

5. Build a name for yourself. When you begin to sell your work at festivals, galleries or online set in motion your brand. Market yourself in such a way that when people think of art, or your niche, they think of you. The more you put your art in front of people the more chances of galleries and other art venues seek you out. You can also build your name by giving yourself a nickname like “the bird painter” if you paint birds. This could serve as your brand when building your customer base. I use a slogan that says “Jazz Up Your Life” since I paint musicians playing jazz music. When ever I do an outdoor show I have a sign up with that slogan above my tent. People respond to it very well.

Using all these tips can create a major impact for anyone trying to sell their artwork in their local area. There are a plethora of information out there that will mention many of these tips over and over again simply because they work. The more you focus on just creating art without planning on how to market and sell your artwork you will lose out. So please take head to these tips and move forward to becoming not just a good artist but a successful selling artist.

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Makler Heidelberg

Source by Ahmad Austin